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Journalism in Authoritarian Post-Soviet Central Asia
The Work of NBC's Stockton Helffrich
In America's First Network TV Censor, Robert Pondillo uses the records of Stockton Helffrich, the first manager of the NBC censorship department, to look at significant subjects of early censorship and how Helffrich used censorship to promote positive changes in the early days of television in the 1940s and 1950s.
Public Loss, Lessons Learned from The People vs. O.J. Simpson
Doris E. Fleischman, Ruth Hale, and Jane Grant
Anonymous in Their Own Names recounts the lives of three women who, while working as their husbands' uncredited professional partners, had a profound and enduring impact on the media in the first half of the twentieth century. With her husband, Edward L. Bernays, Doris E. Fleischman helped found and form the field of public relations. Ruth Hale helped her husband, Heywood Broun, become one of the most popular and influential newspaper columnists of the 1920s and 1930s. In 1925 Jane Grant and her husband, Harold Ross, started the New Yorker magazine.
Yet these women's achievements have been invisible to countless authors who have written about their husbands. This invisibility is especially ironic given that all three were feminists who kept their birth names when they married as a sign of their equality with their husbands, then battled the government and societal norms to retain their names. Hale and Grant so believed in this cause that in 1921 they founded the Lucy Stone League to help other women keep their names, and Grant and Fleischman revived the league in 1950. This was the same year Grant and her second husband, William Harris, founded White Flower Farm, pioneering at that time and today one of the country's most celebrated commercial nurseries.
Despite strikingly different personalities, the three women were friends and lived in overlapping, immensely stimulating New York City circles. Susan Henry explores their pivotal roles in their husbands' extraordinary success and much more, including their problematic marriages and their strategies for overcoming barriers that thwarted many of their contemporaries.
Fifty Pieces from the Road
Writing as a newspaper reporter for nearly forty years, Curtis Wilkie covered eight presidential campaigns, spent years in the Middle East, and traveled to a number of conflicts abroad. However, his memory keeps turning home and many of his most treasured stories transpire in the Deep South. He called his native Mississippi, “the gift that keeps on giving.” For Wilkie, it represented a trove of rogues and racists, colorful personalities and outlandish politicians who managed to thrive among people otherwise kind and generous.
Assassins, Eccentrics, Politicians, and Other Persons of Interest collects news dispatches and feature stories from the author during a journalism career that began in 1963 and lasted until 2000. As a young reporter for the Clarksdale Press Register, he wrote many articles that dealt with the civil rights movement, which dominated the news in the Mississippi Delta during the 1960s.Wilkie spent twenty-six years as a national and foreign correspondent for the Boston Globe. One of the original “Boys on the Bus” (the title of a best-selling book about journalists covering the 1972 presidential campaign), he later wrote extensively about the winning races of two southern Presidents, Jimmy Carter and Bill Clinton.
Wilkie is known for stories reported deeply, rife with anecdotes, physical descriptions, and important background details. He writes about the notorious, such as the late Hunter S. Thompson, as well as more anonymous subjects whose stories, in his hands, have enduring interest. The anthology collects pieces about several notable southerners: Ross Barnett; Byron De La Beckwith and Sam Bowers; Billy Carter; Edwin Edwards and David Duke; Trent Lott; and Charles Evers. Wilkie brings a perceptive eye to people and events, and his eloquent storytelling represents some of the best journalistic writing.
This anthology collects the ten winners of the 2012 Best American Newspaper Narrative Writing Contest at the Mayborn Literary Nonfiction Conference, which is hosted by the Frank W. Mayborn Graduate Institute of Journalism at the University of North Texas. The contest honors exemplary narrative work and encourages narrative nonfiction storytelling at newspapers across the United States. First place winner: Eli Saslow,“Life of a Salesman,” published by the Washington Post, is about a Manassas, Va., swimming pool salesman experiencing the unraveling of his decades-long success story. Second place: Kelley Benham, “Never Let Go,” published by the Tampa Bay Times, is her personal account of the months following the birth of her premature daughter. Third place: Anne Hull, “Breaking Free,” published by the Washington Post, traces a teenage girl’s climb out of poverty as she prepares for college. Runner-ups include: John Branch, “The Day a Mountain Moved” (New York Times); Dan Barry, “Donna’s Diner: In the Hard Fall of a Favorite Son, a Reminder of a City’s Scars” (New York Times); Rosalind Bentley, “The Nation’s Poet” (Atlanta Journal-Constitution); Mark Johnson, “I Boy” (Milwaukee Journal Sentinel); Monica Rhor, “Homelessness” (Houston Chronicle); Louis Hansen, “The Girl Who Took Down the Gang” (Virginian-Pilot); and Martin Kuz, “Soldiers Recount 60-Second Attack That Left Them Reflecting on Life and Death” (Stars and Stripes).
Visual Practices in America's Global War on Terror
Since the 9/11 attacks on U.S. soil, American citizenship has been redefined by the visual images associated with the Global War on Terror (GWOT). Rebecca A. Adelman contends that, in viewing images such as security footage of the 9/11 hijackers, film portrayals of the attacks and subsequent wars, memorials commemorating the attacks, and even graphics associated with increased security in airports, American citizens have been recast as militarized spectators, brought together through the production, circulation, and consumption of these visual artifacts. Beyond the Checkpoint reveals that the visual is essential to the prosecution of the GWOT domestically and abroad, and that it functions as a crucial mechanism in the ongoing formation of the U.S. state itself and an essential component of contemporary American citizenship. Tracing the connections between citizenship and spectatorship, and moving beyond the close reading of visual representations, this book focuses on the institutions and actors that create, monitor, and regulate the visual landscape of the GWOT. Adelman looks around and through common images to follow the complex patterns of practice by which institutions and audiences engage them in various contexts. In the process, she proposes a new methodology for studying visual cultures of conflict, and related phenomena like violence, terror, and suffering that are notoriously difficult to represent. Attending to previously unanalyzed dimensions of this conflict, this book illustrates the complexity of GWOT visual culture and the variegated experiences of citizenship that result as Americans navigate this terrain.
From Jim Crow to Affirmative Action
In this book, Gwyneth Mellinger explores the complex history of the decades-long ASNE diversity initiative, which culminated in the failed Goal 2000 effort to match newsroom demographics with those of the U.S. population. Drawing upon exhaustive reviews of ASNE archival materials, Mellinger examines the democratic paradox through the lens of the ASNE, an elite organization that arguably did more than any other during the twentieth century to institutionalize professional standards in journalism and expand the concepts of government accountability and the free press. The ASNE would emerge in the 1970s as the leader in the newsroom integration movement, but its effort would be frustrated by structures of exclusion the organization had embedded into its own professional standards. Explaining why a project so promising failed so profoundly, Chasing Newsroom Diversity expands our understanding of the intransigence of institutional racism, gender discrimination, and homophobia within democracy.
Cheche, a radical, socialist student magazine at the University of Dares Salaam, first came out in 1969. Featuring incisive analyses of key societal issues by prominent progressives, it gained national and international recognition in a short while. Because it was independent of authority, and spoke without fear or favor, it was banned after just a year of existence. The former editors and associates of Cheche revive that salutory episode of student activism in this book with fast-flowing, humor spiced stories, and astute socio-economic analyses. Issues covered include social and technical aspects of low-budget magazine production, travails of student life and activism, contents and philosophy of higher education, socialism in Tanzania, African liberation, gender politics and global affairs. They also reflect on the relevance of past student activism to the modern era. If your interests cover higher education in Africa, political and development studies, journalism, African affairs, socialism and capitalism, or if you just seek elucidation of student activism in a nation then at the center of the African struggle for liberation, this book presents the topic in a lively but unorthodox and ethically engaging manner.
Great Reporters on What It Takes to Tell the Story
Stories with no substance. Talking heads without a clue. Teamcoverage that still misses the big picture. Overheated hype. Cute chatter. Film at eleven. Is it any wonder more and more of us count less and less on the news?It used to be that a news story told you who, what, where, when, how, and why,Art Athens writes. Now the story might tell you who, or it might tell you when, but there's a good chance that when it's over (which won't take long), you'll be the one saying What?Here's a legendary journalist's back to the basics guide to the craft of broadcast news. Combining insights from his own award-winning career with in-depth conversations with leading newspeople, Art Athens offers a primer on the best practices in reporting, writing, and delivering the news.And he lets some of the best in the business talk frankly and passionately about what it takes to do the job right: Dan Rather, Charles Osgood, Mike Wallace, Brian Williams, Andy Rooney, Charles Kuralt, Linda Ellerbee, and Don Hewitt.What kind of skills-and spirit-does it take to be a successful, serious broadcast journalist? How are the good stories conceived and written? And in today's cynical age of news as entertainment, what should reporters and editors do to restore confidence in the media? In this funny, sharp, honest book, anyone who cares about the news will find answers on every page.